Re: 3-D Restoration

We're restoring from left/right elements and should have some actual 3-D content up soon.

Re: 3-D Restoration

Wed May 30, 2012 1:20 am

This quote on your site stood out:

Throughout 1979, I was able to see several dual-strip revivals at the Thalia, including an original 1953 left/right pair of IT CAME FROM OUTER SPACE on New Year’s Day. The print had some wear but it was a revelation seeing it in the original Polaroid version. I never wanted to see the anaglyph again.

In layman's terms, might you explain the qualitative differences between the two presentations?

Would I be able to tell the difference?

Re: 3-D Restoration

Wed May 30, 2012 1:33 am

Sorry to jump back a little, but I've just read that it was you, Bob, who was behind the release of the rehearsal version of 'One For My Baby'.

Wow!

I own pretty much everything Sinatra did and this is my single favourite performance.

Thank you. thank you, thank you.

Re: 3-D Restoration

Wed May 30, 2012 2:49 am

George Smith wrote:Sorry to jump back a little, but I've just read that it was you, Bob, who was behind the release of the rehearsal version of 'One For My Baby'.

Wow!

I own pretty much everything Sinatra did and this is my single favourite performance.

Thank you. thank you, thank you.

This is on the 3 CD Capitol set?

Re: 3-D Restoration

Wed May 30, 2012 4:52 pm

drjohncarpenter wrote:This quote on your site stood out:

Throughout 1979, I was able to see several dual-strip revivals at the Thalia, including an original 1953 left/right pair of IT CAME FROM OUTER SPACE on New Year’s Day. The print had some wear but it was a revelation seeing it in the original Polaroid version. I never wanted to see the anaglyph again.

In layman's terms, might you explain the qualitative differences between the two presentations?

Would I be able to tell the difference?

Oh yes, the difference is like listening to electronically re-channeled stereo compared to an original multi-track.

Polaroid presents the left/right images in a pure, clear light and utilized glasses very similar to what is in use for 3-D movies today.

Anaglyph converts the left/right images to red/cyan and is very hard on the eyes. After viewing an entire feature in anaglyph, headaches and eyestrain are quite common.

Re: One for My Baby - I found that particular tape but my brother Ron produced the set and did a masterful job. He deserves all the credit.

Re: 3-D Restoration

Wed May 30, 2012 10:48 pm

drjohncarpenter wrote:

George Smith wrote:Sorry to jump back a little, but I've just read that it was you, Bob, who was behind the release of the rehearsal version of 'One For My Baby'.

Wow!

I own pretty much everything Sinatra did and this is my single favourite performance.

Thank you. thank you, thank you.

This is on the 3 CD Capitol set?

Yup, Track 54 of "Frank Sinatra: The Capitol Years".

Bizarrely, there is no mention of it being a special version anywhere on the outside packaging.

There are other collectors' items on the set, including (at the time) unique stereo mixes.

Re: 3-D Restoration

Wed May 30, 2012 10:49 pm

HoneyTalkNelson wrote:Re: One for My Baby - I found that particular tape but my brother Ron produced the set and did a masterful job. He deserves all the credit.

Then please thank him for me, Bob!

Re: 3-D Restoration

Thu May 31, 2012 7:26 am

I certainly will, George.

I forgot to mention, there is a connection with Elvis and my 3-D work.

In the early 1990's, I found an unknown, lost 3-D short from 1953 called STARDUST IN YOUR EYES. It starred popular nightclub comic Slick Slaven. He later become a respected comedy writer on television. I talk about it on this page: http://www.3dfilmarchive.com/home/histo ... he-archive

He was the man that called Elvis up on stage to sing "Trouble."

Re: 3-D Restoration

Thu May 31, 2012 7:50 am

HoneyTalkNelson wrote:Thanks for the nice comments!

Our clips on YouTube are not in 3-D...yet.

We're restoring from left/right elements and should have some actual 3-D content up soon.

Thanks for the clarification. I can't wait! (And I also look forward to the full work you're doing, of course!)

This is very important work, thank you so much!

Best,rjm

Re: 3-D Restoration

Thu May 31, 2012 8:34 am

HoneyTalkNelson wrote:Thank you very much for your nice words rjm and Kingofthejungle.

To answer your question: Paramount, MGM/UA and Universal were helpful in allowing new 35mm dual strip prints to be struck for the second Expo in 2006.

Unfortunately, the upcoming HONDO Blu-Ray will not be in 3-D. The film is outstanding in 3-D and it's a shame that despite the restoration, it will be released flat.

Dr. John: the two Stooges shorts were VERY gimmicky but are well photographed. The quality is quite good when seen in their original Polaroid format. Unfortunately, all of the anaglyph red/blue conversions - from the 8mm releases in the 1960's to the DVD release in 2009 - have been badly done. Hopefully, their next BR release will be in the superior Polaroid version.

Bob

I've seen the Polaroid version around 1990 at a revival theatre in Chicago. We wore clear glasses and the 3-D was great. The DVD's are cool but not nearly as potent.

Re: 3-D Restoration

Thu May 31, 2012 8:41 am

Also I notice you wrote about A Day In The Country (1953) with future Stooge Joe Besser as narrator. Is this going to be released on DVD anytime soon?

Re: 3-D Restoration

Thu May 31, 2012 5:02 pm

Thank you again for your response to the site. It's not fancy with a lot of bells and whistles but it gets the information out there. That's what is most important.

You're right, Mike. Once you've seen SPOOKS (or any of the other 1950's titles converted to anaglyph in the 1970's) shown in the original Polaroid, you can't watch the anaglyph again!

Yes, DAY IN THE COUNTRY will be included in our first volume of TREASURES FROM THE 3-D FILM ARCHIVE. No definite release date yet.

Bob

Re: 3-D Restoration

Thu May 31, 2012 11:19 pm

HoneyTalkNelson wrote:

drjohncarpenter wrote:This quote on your site stood out:

Throughout 1979, I was able to see several dual-strip revivals at the Thalia, including an original 1953 left/right pair of IT CAME FROM OUTER SPACE on New Year’s Day. The print had some wear but it was a revelation seeing it in the original Polaroid version. I never wanted to see the anaglyph again.

In layman's terms, might you explain the qualitative differences between the two presentations?

Would I be able to tell the difference?

Oh yes, the difference is like listening to electronically re-channeled stereo compared to an original multi-track.

Polaroid presents the left/right images in a pure, clear light and utilized glasses very similar to what is in use for 3-D movies today.

Anaglyph converts the left/right images to red/cyan and is very hard on the eyes. After viewing an entire feature in anaglyph, headaches and eyestrain are quite common.

I notice this is the only version on the set -- are the 1954 and 1958 masters not as good? Which session is the rehearsal take from?

Re: 3-D Restoration

Fri Jun 01, 2012 12:48 am

Sleeve notes, John:

"One For My Baby (And One More For The Road)" is the best "saloon song" extant. It was written by Harold Arlen and Johnny Mercer for the 1942 film, "The Sky's The Limit." Frank first recorded the classic for Columbia Records in 1947. The justly famed Capitol version with Nelson Riddle's remarkable arrangement is the "ne plus ultra" of the many fine performances on the album. It is now known, however, that on June 24, 1958, a day before the final master was recorded, Frank and painist Bill Miller entered the Capitol studio to run through the song. It was recorded as a "test" and then was to be erased. However, in preparing this album, compiler Ron Furmaneck found a tape reel that was not completely rewound to the beginning. And on that reel was the "supposed to be" erased recording. It had remained unnoticed in the Capitol vaults for 32 years.Pete Kline and Ric Ross

It's stark, beautiful and perfect.

Re: 3-D Restoration

Fri Jun 01, 2012 1:58 am

George Smith wrote:Sleeve notes, John:

"One For My Baby (And One More For The Road)" is the best "saloon song" extant. It was written by Harold Arlen and Johnny Mercer for the 1942 film, "The Sky's The Limit." Frank first recorded the classic for Columbia Records in 1947. The justly famed Capitol version with Nelson Riddle's remarkable arrangement is the "ne plus ultra" of the many fine performances on the album. It is now known, however, that on June 24, 1958, a day before the final master was recorded, Frank and painist Bill Miller entered the Capitol studio to run through the song. It was recorded as a "test" and then was to be erased. However, in preparing this album, compiler Ron Furmaneck found a tape reel that was not completely rewound to the beginning. And on that reel was the "supposed to be" erased recording. It had remained unnoticed in the Capitol vaults for 32 years.Pete Kline and Ric Ross

It's stark, beautiful and perfect.

Now I gotta get that set!

Re: 3-D Restoration

Fri Jun 01, 2012 10:55 am

HoneyTalkNelson wrote:Thank you again for your response to the site. It's not fancy with a lot of bells and whistles but it gets the information out there. That's what is most important.

You're right, Mike. Once you've seen SPOOKS (or any of the other 1950's titles converted to anaglyph in the 1970's) shown in the original Polaroid, you can't watch the anaglyph again!

Yes, DAY IN THE COUNTRY will be included in our first volume of TREASURES FROM THE 3-D FILM ARCHIVE. No definite release date yet.

Once you've got everything looking its very best, RETURN TO BRONSON CANYON with Bob Burns in the miracle of third-dimension.

Who knows, maybe even Ro-man will make an appearance...

Enjoy!

Bob

Enjoyed!

rjm

Re: 3-D Restoration

Mon Jun 18, 2012 8:46 am

60 years ago today on Wednesday, June 18 1952, filming commenced in the Malibu Hills on Arch Oboler’s THE LIONS OF GULU. It was the first feature film produced in Natural Vision Three-Dimension. Released as BWANA DEVIL on November 26 1952, its tremendous success jump started the short-lived 3-D revolution in Hollywood.

Here's a stereo image taken on location in the Malibu Hills. Pictured behind the Natural Vision camera is its designer Lothrop Worth. In front is Director of Photography Joe Biroc. Robert Stack and Barbara Britton look happy next to the Nash Rambler.